Favorite tools Small wooden tool purchased in 2001 by Taranto (discontinued)
Studio playlist John Prine on Pandora, Podcasts including: My Favorite Murder, The Memory Palace, Rumble Strip
Studio
My studio is something of a personal haven, located right inside the living room of our home. It’s not your typical workspace, but it suits me perfectly. Long before I even knew I wanted to work with ceramics, I visited a local studio tour during Thanksgiving. I remember telling my husband, “I’m not an artist, but one day I want to be part of this tour.” Funny thing is, back then, we didn’t even live in this area, and I had no idea I’d end up where I am now.
When we finally bought our farm, it was just the two of us living in the house. I knew we wouldn’t need a living room for anything other than collecting dust, so I decided to make it my studio. I had custom bookshelves built along one wall, perfectly sized to hold my sculptures, with supplies neatly tucked underneath. The studio faces south, so I get beautiful natural light throughout the day, and I also had track lighting installed to give it a gallery-like feel. It’s the perfect space for both working and displaying my creations.
My worktables are simple folding tables from Home Depot that I cover with canvas rolls. They aren’t fancy, but they’re practical. I like the flexibility of being able to move things around or store them away when needed, especially during studio tours. I have an old rolling chair that’s just the right height for working, and that’s where I spend most of my creative time.
I work mainly with handbuilt techniques, either rolling slabs by hand or making coils and pinch pots. I usually focus on one piece at a time unless I’m working on something larger that needs to rest before I can continue. Most of my work is small enough to fit on the shelves as it dries. For bigger tasks like rolling out large slabs or applying underglazes, I use a second table. The process is simple and efficient, which helps keep my workflow smooth.
When it comes to firing my work, I have two kilns—both Skutt. One is larger, but the smaller one has been an absolute workhorse. That little kiln has been such a reliable partner in my process that I can’t speak highly enough about it. I started with an old kiln-sitter model that I bought used for $400, and I used it until it just couldn’t keep up anymore. Rather than repair it, I upgraded to a computerized version, which was well worth it. My kilns are in a detached garage next to our barn, which works perfectly for keeping the firing process separate from my workspace.
Paying Dues (and Bills)
I’m an early riser. I usually get up around 4am, and the first hour of my day is dedicated to drinking tea and writing in longhand in a black marble notebook. I picked up this habit from The Artist’s Way by Julia Cameron, and it’s become a crucial part of my creative process. Writing helps me understand the stories I’m telling through my art. These are personal stories—reflections of my life—and my sculptures are the illustrations.
Once I’ve had my quiet time, I head into the studio. Depending on my schedule, I work for two to four hours. I tend to work in kiln batches, sculpting pieces throughout the week and applying underglazes as I go. By the end of the week, I usually have enough to fill the kiln for a bisque firing, which I do on Fridays or Saturdays. I’ll unload the kiln on Sunday, apply more underglaze or glaze, and then fire the pieces again for their final look. I aim to spend at least four hours a day in the studio. Sometimes, life gets in the way, but I try to stick to that schedule.
When I first started working with clay, it was at the wheel. A customer from my frame shop, who happened to be a potter, invited me to his garage studio one October day to give it a try. My husband and I went, and it sparked something in me. We even signed up for classes at a local pottery studio, but after a while, I realized that wheel throwing wasn’t for me. Too many water-soaked disasters, too many frustrations. So, I moved to the handbuilding table.
That’s when things clicked. I remembered a time in my past when I loved sculpting doll heads from polymer clay, and I started making heads again. At first, they were all salt-and-pepper shakers because the studio owner said “no dolls,” and everyone else was making functional ware. I felt like I had to fit in, but a friend encouraged me to break free of those limitations, saying, “They don’t have to be anything—they’re sculptures.” That was a turning point for me.
Now, I work mostly with paper clay, which is a blend of ceramic clay and paper fibers. It’s incredibly forgiving and dries quickly, making it perfect for my fast-paced, experimental style. I bisque fire to cone 04 and to cone 5 or 6 for the final firing. Paper clay has allowed me to push boundaries, experiment, and ultimately find my own voice.
Before ceramics, my career was in the picture framing business. I co-owned a gallery called Frame of Mind for 28 years, and it was a great success. But when I hit 50, I knew it wasn’t my passion. I had to return to making art. That decision has been the most fulfilling one I’ve ever made.
I participate in about six outdoor art shows per year in the tri-state area, which accounts for 50% of my sales. I also sell through a local fine-art gallery, Gallery Piquel, in New Hope, Pennsylvania. In addition, I sell online through my website, Artful Home, and the 25 Days of Minis show, an online event every December that’s like an advent calendar for art.
Marketing
I’ve learned so much from people along the way, especially Jerry Bennett, a ceramic artist who taught me everything I know about paper clay. His guidance has been invaluable, and he’s become a great friend and mentor. My business coach, Teresa Haag-O’Neill, has also played a huge role in helping me market my work and manage my career effectively.
The relationships I’ve built over time have been key to my success. Fostering these connections through storytelling has been one of the most rewarding parts of my business.
The number one thing I do to market my business is to send a weekly email to my subscribers. I collect email addresses from people I meet at every outdoor art show I attend. I hand out cards, I have a QR code in my booth and I encourage interested people to stay connected by making it easy for them to sign up. I also have a pop-up on my website so that people can automatically sign up there, as well.
I don’t call these emails newsletters. I keep them brief: I include a piece of my art (old or new) with a story about the work and a call to action: Come to a show, sign up for a workshop, purchase a piece of art.
Two years ago I began this habit and it has increased my sales at least 30%.
I always send out an email the night before an in-person show with all of the work that I have available loaded into my online shop. My thoughts: not everyone can make it to my show. I have collectors all over the country, everyone wants to see the new work and have a chance to purchase. I use Mailchimp and it automatically links my emails to my social-media platforms.
I know many artists have decided to leave social media behind but I consider it free advertising and people are always on it. Every six weeks I create a social-media schedule with ideas of what I want to share with the focus on upcoming events: art shows, workshops, etc. I have my Instagram and Facebook profiles connected so posting one covers both. I mostly post reels but also do livestreams and stand-alone posts. I try to schedule most of my posts ahead of time so that I don’t fall into the rabbit hole of doom scrolling.
Scheduling time to market my business is incredibly valuable to me. It takes the guess work out of what I am going to post or promote. I pull out my calendar and create social-media posts and emails as run-ups to events.
Most Important Lesson
I’m proud to say that I now participate in that same open studio tour that first inspired me to become an artist. Every Thanksgiving, the Covered Bridge Artisans open their studios to the public, and being part of that event feels like a dream come true.
Looking back, the most important lesson I’ve learned is that I am 100% responsible for my results. It’s up to me to show up, to connect with people, and to keep creating. That’s how I’ve shaped my career, and it’s how I’ll continue to grow as an artist.
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Just the Facts
Clay
Laguna Max’s Paper Clay, studio-made porcelain paper clay
Primary forming method
Handbuilding, coil, pinch, slab
Primary firing temperature
Cone 5/6 in an electric kiln
Favorite surface treatment
Layered underglaze washes
Favorite tools
Small wooden tool purchased in 2001 by Taranto (discontinued)
Studio playlist
John Prine on Pandora, Podcasts including: My Favorite Murder, The Memory Palace, Rumble Strip
Studio
My studio is something of a personal haven, located right inside the living room of our home. It’s not your typical workspace, but it suits me perfectly. Long before I even knew I wanted to work with ceramics, I visited a local studio tour during Thanksgiving. I remember telling my husband, “I’m not an artist, but one day I want to be part of this tour.” Funny thing is, back then, we didn’t even live in this area, and I had no idea I’d end up where I am now.
When we finally bought our farm, it was just the two of us living in the house. I knew we wouldn’t need a living room for anything other than collecting dust, so I decided to make it my studio. I had custom bookshelves built along one wall, perfectly sized to hold my sculptures, with supplies neatly tucked underneath. The studio faces south, so I get beautiful natural light throughout the day, and I also had track lighting installed to give it a gallery-like feel. It’s the perfect space for both working and displaying my creations.
My worktables are simple folding tables from Home Depot that I cover with canvas rolls. They aren’t fancy, but they’re practical. I like the flexibility of being able to move things around or store them away when needed, especially during studio tours. I have an old rolling chair that’s just the right height for working, and that’s where I spend most of my creative time.
I work mainly with handbuilt techniques, either rolling slabs by hand or making coils and pinch pots. I usually focus on one piece at a time unless I’m working on something larger that needs to rest before I can continue. Most of my work is small enough to fit on the shelves as it dries. For bigger tasks like rolling out large slabs or applying underglazes, I use a second table. The process is simple and efficient, which helps keep my workflow smooth.
When it comes to firing my work, I have two kilns—both Skutt. One is larger, but the smaller one has been an absolute workhorse. That little kiln has been such a reliable partner in my process that I can’t speak highly enough about it. I started with an old kiln-sitter model that I bought used for $400, and I used it until it just couldn’t keep up anymore. Rather than repair it, I upgraded to a computerized version, which was well worth it. My kilns are in a detached garage next to our barn, which works perfectly for keeping the firing process separate from my workspace.
Paying Dues (and Bills)
I’m an early riser. I usually get up around 4am, and the first hour of my day is dedicated to drinking tea and writing in longhand in a black marble notebook. I picked up this habit from The Artist’s Way by Julia Cameron, and it’s become a crucial part of my creative process. Writing helps me understand the stories I’m telling through my art. These are personal stories—reflections of my life—and my sculptures are the illustrations.
Once I’ve had my quiet time, I head into the studio. Depending on my schedule, I work for two to four hours. I tend to work in kiln batches, sculpting pieces throughout the week and applying underglazes as I go. By the end of the week, I usually have enough to fill the kiln for a bisque firing, which I do on Fridays or Saturdays. I’ll unload the kiln on Sunday, apply more underglaze or glaze, and then fire the pieces again for their final look. I aim to spend at least four hours a day in the studio. Sometimes, life gets in the way, but I try to stick to that schedule.
When I first started working with clay, it was at the wheel. A customer from my frame shop, who happened to be a potter, invited me to his garage studio one October day to give it a try. My husband and I went, and it sparked something in me. We even signed up for classes at a local pottery studio, but after a while, I realized that wheel throwing wasn’t for me. Too many water-soaked disasters, too many frustrations. So, I moved to the handbuilding table.
That’s when things clicked. I remembered a time in my past when I loved sculpting doll heads from polymer clay, and I started making heads again. At first, they were all salt-and-pepper shakers because the studio owner said “no dolls,” and everyone else was making functional ware. I felt like I had to fit in, but a friend encouraged me to break free of those limitations, saying, “They don’t have to be anything—they’re sculptures.” That was a turning point for me.
Now, I work mostly with paper clay, which is a blend of ceramic clay and paper fibers. It’s incredibly forgiving and dries quickly, making it perfect for my fast-paced, experimental style. I bisque fire to cone 04 and to cone 5 or 6 for the final firing. Paper clay has allowed me to push boundaries, experiment, and ultimately find my own voice.
Before ceramics, my career was in the picture framing business. I co-owned a gallery called Frame of Mind for 28 years, and it was a great success. But when I hit 50, I knew it wasn’t my passion. I had to return to making art. That decision has been the most fulfilling one I’ve ever made.
I participate in about six outdoor art shows per year in the tri-state area, which accounts for 50% of my sales. I also sell through a local fine-art gallery, Gallery Piquel, in New Hope, Pennsylvania. In addition, I sell online through my website, Artful Home, and the 25 Days of Minis show, an online event every December that’s like an advent calendar for art.
Marketing
I’ve learned so much from people along the way, especially Jerry Bennett, a ceramic artist who taught me everything I know about paper clay. His guidance has been invaluable, and he’s become a great friend and mentor. My business coach, Teresa Haag-O’Neill, has also played a huge role in helping me market my work and manage my career effectively.
The relationships I’ve built over time have been key to my success. Fostering these connections through storytelling has been one of the most rewarding parts of my business.
The number one thing I do to market my business is to send a weekly email to my subscribers. I collect email addresses from people I meet at every outdoor art show I attend. I hand out cards, I have a QR code in my booth and I encourage interested people to stay connected by making it easy for them to sign up. I also have a pop-up on my website so that people can automatically sign up there, as well.
I don’t call these emails newsletters. I keep them brief: I include a piece of my art (old or new) with a story about the work and a call to action: Come to a show, sign up for a workshop, purchase a piece of art.
Two years ago I began this habit and it has increased my sales at least 30%.
I always send out an email the night before an in-person show with all of the work that I have available loaded into my online shop. My thoughts: not everyone can make it to my show. I have collectors all over the country, everyone wants to see the new work and have a chance to purchase. I use Mailchimp and it automatically links my emails to my social-media platforms.
I know many artists have decided to leave social media behind but I consider it free advertising and people are always on it. Every six weeks I create a social-media schedule with ideas of what I want to share with the focus on upcoming events: art shows, workshops, etc. I have my Instagram and Facebook profiles connected so posting one covers both. I mostly post reels but also do livestreams and stand-alone posts. I try to schedule most of my posts ahead of time so that I don’t fall into the rabbit hole of doom scrolling.
Scheduling time to market my business is incredibly valuable to me. It takes the guess work out of what I am going to post or promote. I pull out my calendar and create social-media posts and emails as run-ups to events.
Most Important Lesson
I’m proud to say that I now participate in that same open studio tour that first inspired me to become an artist. Every Thanksgiving, the Covered Bridge Artisans open their studios to the public, and being part of that event feels like a dream come true.
Looking back, the most important lesson I’ve learned is that I am 100% responsible for my results. It’s up to me to show up, to connect with people, and to keep creating. That’s how I’ve shaped my career, and it’s how I’ll continue to grow as an artist.
www.bonetownstudio.com
Facebook: @bonetownstudio
Instagram: @bonetownstudio
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